Temple of Hera, Paestum

Middle 6th Century BCE

Peripteral, columns all the way around. Wife of Zeus. Greek, in Italy Paestum. Doric order columns. Fat columns. Basic post and lentil system. Column ration 1:2 (9 high, 18 long). 170 ft across, made with limestone.

Temple of Artemis, Corfu

c. 600-580 BCE

Doric Order. Pediment preserved, with medusa on it to ward off the evil and enemies of Artemis. Heraldic, gigantomachy – triumph of reason or order of chaos – on the right. Scenes from the Trojan war on the left. 3 Narratives, unrelated. Pediment sculpture will developed into continuous narrative. Size indicative of importance ->  different scale, less real

Siphnian Treasury, Sanctuary of Apollo, Delphi

c. 530 BCE

Pediment has a continuous narrative and characters are to scale. Treasure brought in honor of Apollo. Siphnian people Siphnos, island in the Aegean. Games, competitions took place here. Women sculptures functioning as columns, caryatid. Ionic style. Painted brightly with blues and red. Everything above the capital -> entablature. Battle between the Gods and giants on North frieze – Lot’s of overlapping, very intricate. Varying levels of relief – closer figures are in higher relief, farther figures are in lower relief to indicate depth. Higher relief indicative of importance. 

Francois Volute Krater, Chiusi, Italy

c. 570 BCE

Ergotimos(potter) and Kleitias(painter). Chiusi, Italy. Inscriptions with names off all figures. Achilles… other important people. Found in center of Italy in the Etruscan region. Ellaborate burials, believed in an afterlife and prized greek pots. Buried them in their tombs. 2ft high, volute handles (spiral shape). Krater is used to mix water and wine (didn’t drink wine straight). Elaborately decorated with clear horizontal registers (geometric continuation with Egyptian influence). Composite view of figures. Black figure technique against terracotta color of the clay

Athenian Black Figure Amphora, Vulci, Italy

c. 540-530 BCE

Achilles and Ajax playing a board game, c. 540-530. Exekias(Painter) Greatest archaic black figure painter. Found at Vulci, Italy. One narrative. Ominous, Achilles triumphant now, but Ajax will carry him injured from the battlefield later. Narrower neck than Krater, 2ft high. Curvature of the vessel itself is respected by the curvature of the backs of the characters. Use stylus to incise detail into terracotta (the part that has been painted to oxidize during firing ) so that it won’t turn black.

Red Figure Calyx-Krater

c. 515 BCE

obverse Sapedon carried off the battlefield sleep and death carrying him, reverse Athenian Arming Themselves. Euphronius (Painter) c. 515 BCE. Figures are terracotta color, background is back. Paint details on figures, lighter color anatomy of the skin is more realistic. Calyx handles, lower on the body. Famous vase, recently on the news – had been in the metropolitan museum returned to Italy. Originally looted from Etruscan tomb illegally. Trojan war, Sarpedon Trojan hero is dying being carried of battlefield. 1.5 ft high. Diagonals and gazes of the characters focus on Sarpedon. Hypnos and Thanatos Gods of sleep and death paired together regularly (inscriptions tell who they are). Mercury holding his staff on the back. 

Temple of Aphaia, Aegina, Greece

c. 500-490 BCE

Transitional. Aegina, island near Athens. Dedicated to Aphaia. Doric order. Pediment sculptures – in Munich now. West side Archer – crouching ready to shoot (500 BCE, kinda stylized, Archaic smile, stylized face, crouching would indicate he was in the corner). East side - Sculptures  (490 BCE) Triangular arrangement. Much more realistic body, attention to musculature. Still Archaic smile. Marble figures (don’t know about the temple itself). 

Temple of Zeus, Olympia Greece

c. 470-465 BCE

Libon (architect). Lots of written accounts. Doric order, frieze partitioned into triglyph, metapy. Six columns across the short end, 13 on the long end ( short * 2 +1, classical architects liked this ratio). Libon credited with the creation of the ratio, makes the temple a bit bigger. This temple housed a huge statue of Zeus in the cella. Pediment (East) various figures involving stories of mythology of chariot race. Pediment (West) Apollo in middle, symbolizing control, tall commanding rigid – on either side battle between Lapiths (mortals) and centaurs. Head of Greeks getting married, centaurs became unruly at wedding, started carrying off women, Lapith men trying to stop them. Games could not be held if the varying city states were warring, that’s the message here. Order and peace, Apollo. Centauromachy. Bodies well defined, no archaic smile Apollo very serious. Metope often had relief sculptures, and there were metopes on the cella walls, 6 on each side. 12 Dealt with Hercules. Gods challenged him to twelve different labors, Hercules relieves Atlas so he could go get golden apples from the garden of (what?). Drapery is more realistic, folds, musculature, and again, no archaic smile. 

Bronze Charioteer, Delphi Greece

c. 475 BCE

Sanctuary of Apollo. Impressively expensive, 10x the cost of stone. Time consuming, tough to cast bronze. Hollow. Description in the book of technique. Made to commemorate a victory at Delphi, chariot race winner had this commissioned. Calm and in control, after the race. Man from Sicily named Jela. 5’11”

Warrior, Sea of Riace, Italy

c. 460-450 BCE

From the sea off Riace, Italy. More like these buried yet to be found in a ship wreck, coming from Greece. Majority of bronzes that remain have been found in the sea. 6’6” high. Probably held swords and shields. Dated based on realism in the anatomy, hair is still rather stylized, no archaic smile, lots of movement. Hair is the last thing to be turned to realism. Weight same on both legs in Egyptian and earlier works. Here weight on one leg, the other relaxed – contrapposto stance. 

Zeus, Artemision

c. 460-450 BCE

Would have been throwing lightning bolt (or trident) eyes would have been inlaid with precious materials. Anatomical realism. Pose with feet apart likes hes about to throw. Bronze is tensile, project limbs out into space around sculpture. 6’10” tall. Hair and beard still stylized. 

Discus Thrower (Diskobolos)

c. 450 BCE

By Myron. Was originally bronze and had been destroyed, but Romans copied it in marble. About to throw the discus, superbly caught in the moment of action. Perfect understanding of musculature, tendons. Serious face, determined to do well. Veins, Hair still carefully arranged. Body makes two intersecting arcs, rounded arch of arms intersects with arch of back. Beautifully depicted.

Spear Bearer (Doryphoros)

c. 450-440 BCE

Original lost, bronze. Roman Marble copy and 1935 bronze reconstruction (Germany). Polykleitos (artist). Bronze would have been like the tanned athlete, glistening with sweat. Polykleitos wrote, “The Canon” standard of proportions – as if it shows us the perfect proportions (1:7, head to body ratio). Contrapposto stance. Right arm down and straight, right leg down and straight. Left leg up and moving, left arm bent. Right leg holding weight, left arm holding spear. Right arm relaxed, left leg in relax. Harmony of balance. Basalt copy shows great strides in anatomy. Compare to the Kouros of Anavysos, 530 – 450. Rapid change in 3 generations. Struts shown in the marble copy, bronze tensile, marble heavier needed support.

Parthenon, Athens Acropolis

c. 447-438 BCE

Athena Parthenos (“virgin”) Iktinos & Kallikrates.  Columns started to get thinner, stylobate all the way around and bumped in the middle, columns on the end tilted inward to account for perspective of viewer looking up a hill.  East faced the sun, considered more important. Phidias, sculptor of the Zeus statue, sculpted Athena statue here. Another room with four columns housed the treasury, closed off from the East side. Doric order, 8x17 (8x (8*2 +1)). Early instance of Ionic columns in treasury. Many are a combination of Doric and Ionic in the Acropolis. Drawing of the pediments Jacques Carrey 1673, mostly in British museum in London, known as the Elgin marbles, Lord Elgin decided to rescue and protect them a century after Carrey. West pediment contest between Athena and Poseidon, Athena wins. Drawing shows tallest figures in tallest space, others crouch or lie down. Asymmetrical arrangement, would have been more realistic. Lot of action, in drapery and figures. All sculptures made in 6 years, c. 438 – 432 by Phidias a nd crew. Metapes had stories (92 in total, sculptures in relief). East Pediment – Birth of Athena, Hestia, Dione and Aphrodite c. 438-432 BCE dionysos or Hercules, Persephone, Demeter. Background of blue
Metape from the south façade- Lapiths and centaurs, centauromachy. Intersecting arcs curves of the bodies and draperies. Background of red.
Frieze – Continuous, 524 ft sculpted, around the cella. Background of blue. 3.5 feet high. Four walls showed procession that took place in Athens every year, Panathenae. Brought new Garmant for statue of Athena every four years. North horses, East maidens walking draping clothes dignified poses. Light figure in lighter marble against darker red or blue background (like red figure vases) figures stands out, presents itself very well.

Acropolis Propylaea (Main Gate), Athens Acropolis

c. 437-432

Mnesikles (architect) . Winding ramp throughout the whole temple structure so you could bring chariots up, and stairs for foot traffic.

Temple of Athena Nike, Acropolis Athens

c. 427-424 BCE

Next to Propylaia, Victory.  Peloponnesian war to follow soon. Ionic on the outside. Two porches with Ionic columns, Amphiprostyle.
Continuous frieze with sculpture. Columns have bases.
 Nike Adjusting her Sandal  c.410 BCE – Athena elegantly adjusting her sandal. Cover up females with drapery, Wet drapery, can see the body underneath

Erechetheion, Athens Acropolis

c. 421-405 BCE

Acropolis. Ionic order. Don’t know t he architect. Friezes sculptured relief, blue paint on background. Third porch, caryatids (Delphi) female figure columns with hanging drapery with capital above their heads in contrapposto. 

Grave Stele of Hegesa, Dipylon Cemetary, Athens

c. 400 BCE

Dipylon Cemetery, Athens. Deceased known from inscriptions, names father and daughter, depicted alive with maid servant. Upper class. Looking in a jewelry box and looking at something. Quiet, not a whole lot of movement. Majestic. Edges of stone are pediment, lentil and two posts, women in picture overlap the space and into the viewer’s space. 5’2” tall. Marble. 

Death of Actaeon, Red-figure bell-krater

c. 470 BCE

(Pan Painter, don’t know his name)Actaeon was a hunter, being slain by Artemis. He spied on her bathing. Turned him into a stag and set his own hunting dogs on him. 14.5” tall. Mixing wine and water… Profile eyes in profile view. 

Zeus Pursuing Ganymede, Red-figure amphora

c. 470 BCE

Zeus carried Ganymede away to be cup bearer for the gods on Mt. Olympus. Trojan hero, very beautiful. Unification, one scene is the focal point, no registers. 

White Ground Lekythos

c. 440-430 BCE

One handle, held oil and liquid. Ceremonial used in burial. (Achilles painter) Two women delicately sketched in. Not huge 14.5”

Muse on Mt. Helikon, White Ground Lekythos

c. 440-430 BCE

Home to Apollo, and sacred to the muses. 

Tomb of the Diver Fresco, Paestum, Italy

c. 480 BCE

Mural size fresco in a tomb. (same city as temple of Hera, in Italy). Banquet scene, no women. Reclining, holding kylix (wine cup). On all four walls and ceiling shows the diver- probably metaphorical diving into the afterlife, making the perfect dive. Profile eyes. 

Theater at Epidauros, Peloponnesus, Greece

c. 350 BCE

(Polykleitos the younger) Plays performed only on festival occasions. Held 12,000 people. Acoustics are very good. Stone seats up  the hill. Performers on stage in front of scenery and props behind the painting. 400ft in diameter. 

Hermes and Infant Dionysus, Olympia

c. 340 BCE

- Praxiteles from the Temple of Hera, Olympia. 5^th Century art reaching for perfection after defeating the Persians – idealizing. 4^th century, Athens lost to Sparta, different perspective a little more chaotic. Gods shown as a little more human. Sculpture of messenger god, half brother of Dionysos, nude of course. Contrapposto stance, attention to anatomy, things that they developed in the 5^th century. Praxiteles really polished statues so there weren’t harsh connections so everything is soft and blurred. Dreamy, hazy, blurry. 7’1” high. Hair still stylized, but less so than 5^th century works. 

Aphrodite of Knidos, Knidos, Greece

c. 350-340 BCE

(Praxiteles) First life-size real nude woman. Scandalous in his time. Goddess of love, born from the sea without clothes, wind gods blew her to the shore where she was clothed, makes sense to show her nude. Bold, the original is not existent, still in marble. Romans copied in marble, a lot. Standing in contrapposto holding towel and jug taking bath. Dewey, dreamy, soft look. Knidos, people on the island of Knidos bought it from Praxiteles, placed her on the inside of a round temple. 

Battle of Issus, House of Faun, Pompeii Italy

c. 310 BCE

House of Faun, Pompeii. Most mosaics in stone. Right after Alexander the Great’s death, some think the artist was Helen of Egypt. Officially moved into the Hellenistic period. Battle scene that Alexander took part in, fighting Darius (not the one from 6^th century). Alexander will win. Southern Italy is where the mosaic was found. Made before 79 CE, i.e. date of the volcanic eruption of Pompeii. Dimensions 8’10” x 16’9”. On the floor, made by arranging colored pebbles. Flat background, negative space, deliberate so that all attention drawn to figures. Spears all lead to Alexander’s side and Darius’ glance and gesture at Alexander himself, the focal point. Mosaiscist used darker stone for shadow, lighter for more lit areas. Medusa shown on Alexander’s chest-piece. Modeling –“Use of light and shadow to give the illusion of volume and three dimesion.” Reflection, face of Darius’ man reflected in shield. Consistent light source produces consistent shadow casting to the right, i.e. the light source is behind Alexander and the viewer’s left. Foreshortening, turn object obliquely or perpidicular to picture plane, horse foreshortened. Don’t see all of the body but we see the head, know that the rest of the body exists. Way to show perspective to show that the horse recedes back into space, perpendicularly forshortened. Black horse is obliquely foreshortened, recedes back into the space. Emotion on Darius’ face shows he’s worried, men’s eye brows are furrowed and horses look spooked. Drama and hardship of a tough battle. Knows that he’s been defeated, lead man sounding the retreat.

Patrician carrying two portrait heads, Rome

c. 50-15 BCE

Verism “truth” relates to the patrician. All three heads date to three different periods ad the drapery that the is from a different period. When somebody in your family died, sculpture of head kept in house, honoring their ancestors in processions. Very true to the way that they looked. Senate – “Seniors” old and esteemed for their wisdom and experienced. Opposite of idealization. 

Portrait of a Roman, Rome

c. 80 BCE

Sagging lines, wrinkles, verism.

Temple of Portunus, Rome

c. 75 BCE

God of Harbors. Greek influence, Ionic  columns, same temple like configuration. Etruscan Deep porch with flight of steps leading up to the porch, called a podium. Several columns on the side are attached to the wall, remember engaged. Not holding up the entablature. Shift in the use of the column, rarely used in Greek architecture. Romans invent concrete, column becomes decorative. Periptural, columns running all the way around the building – This temple is pseudo-peripteral. 

Temple of Vesta, Tivoli, Italy

c. 1st Century BCE

. Round temple to the goddess of the harp. Corinthian order columns. The Romans love the Corinthian columns the best. Concrete core of the columns, (How was it made? – Not runny, lots of pebbles. Greeks knew it, didn’t really use it). Rough surface, faced with a stucco or marble veneer. Round structures, called “tholos”. 

Emperor Octavian as general, Rome, Italy

c. 20 BCE

Emperor  Augustus, beginning in 27 BCE, defeated Cleopatra and Marc Antony in the battle of Actium in 30 BCE turned the tide. Octavian becomes Augustus and ushers in a period of peace. 27 BCE – 14 CE. His statue, bronze lost to us, 6’8” high. c. 20 BCE. Pictured as a general. Chest and back depicts some conquests and important events. Contrapposto stance, face is shown as idealized, no longer using verism. Propagandistic, glorified emperors and molds the populous’ opinion. Shown in bare feet, deified, Octavian was the descendent of Julius Caesar who was deified. Suggests he’s on sacred ground, cupid figure shown (son of Venus). Faces and the hair so similar to Polykleitos spear bearer. Youthful, sober determined look

Ara Pacis, Rome

c. 13-9 BCE

Monument built during Octavian’s rule, made of marble. Italians have a source that was discovered and still being quarried. Alter inside, decorated with garland motif.
Large relief on the front left – Three female figures – probably represents mother earth Tellus (Earth, sky and sea) Personification indicated by billowing drapery around their head.  Bounty of the Earth brought about by the peace. Everything is fruitful and bountiful.
Major Procession of the emperor and entourage (women, children – not a lot in Roman art, declining birth rate, Wanted to insure things like marriage fidelity and marriage. Doing child like things) People turning and talking like people act, like the Parthenon frieze, copied. Greek temples painted as were the Romans. Wife of Octavian Livia

Gardenscape from the villia of Livia, Primaporta, Italy

c. 30-20 BCE

Garden room painted with trees, gives you the feel that you are looking out into a landscape. Last of the illusionism, atmospheric perspective-forms in the distance are hazier and blurrier and less distinct. Foliage in the foreground more distinct, farther are less distinct. 

Gemma Augustea, Rome

c. early first century CE

cut for August’s successor Tiberius (his son in law). Piece of jewelry that depicts both Octavian and Tiberius. Augustus being crowned in a laural wreath, personification of either Rome or Minerva (August’s zodiac Capricorn depicted, army conquering the barbarians. Allegory for the empire at the time. Foreshortening shown in  the horse. White figures  against dark background, reminiscent of Greek sculpture an d red-figure vase painting

Maison Carree, Nimes, France

c.1-10 CE

Square house, temple in the day of Octavian. Greek influence, very similar to the Temple to Portunus. This one is Corinthian (not ionic). Etruscan influence in the podium, engaged columns (pseudo-peripteral). Corninthian (campus leaves at the top).

Pont-du-Gard Aqueduct, Nimes, France

c. 16 BCE

3 Levels, traverses the river Gard. Created with concrete. More round arches used (not new, Babylonian and Greeks knew it). Blocks of stone left protruding, very functional  to assist in repairing. Engineers. 

Porta Maggiore, Rome, Italy

c. 50 CE

. Left visibly rough, not veneered. Rustication, makes it look strong and resilient. 

Colosseum, Rome, Italy

c. 70-80 CE

Vespasian, finished by his son Titus. Statues in the round arches of all three stories. Name suggests colossus, sat 50,000. Biggest amphitheater, two Greek theaters face to face. Named so to stamp out the memory of Nero, built on the site of his manmade lake. Gladiators fought, trained warriors, often done using helpless prisoners. Gruesome entertainment enjoyed by the masses. Way for the ruling people to manage increasing population, appeasement. Awning that could stretch over the top, ticket system (gate, number, seat). Ellipse. Travertine, limestone-ish – creamy, porous. Faced with veneer of marble. Later architects stripped the marble veneer and brickwork to use in other buildings. Flanked round arches with engaged columns, common motif.  4^th story shows another type of column, squared off engaged column that doesn’t project that far from the wall – pilaster, those on Colosseum are pilasters. Both Greek and Etruscan influence,  Tuscan (similar to Doric) on the bottom-Ionic on the middle-Corinthian on the top. Not the first amphitheater, @ Pompeii 70 BCE.

Inside – below the floor exposed, subterranean. Elevators used to transport from lower levels to arena.
Barrel Vault – round arch, elongated into a tunnel (in Colosseum, known to Greeks)
Groin Vault – two barrel vaults and intersected them at right angles, groins because of the joints (in Colosseum as well, known to Greeks)
Fenestrated Vault – Vault with window level, not used in Colosseum.

Arch of Titus, Rome

c. 81 CE

Conquered Jerusalem. Commemorates his conquest, triumphal arch – 64 triumphal arches in the city of Rome alone, many were made of wood. Only three exist today in Rome and one in Naples. Just one opening, round arch flanked by engaged columns (5^th order now invented, composite of Corinthian and Ionic). Broken entablature. Titus drawn by horses on a chariot, brandishing the seven branch menorah, escorted by personifications of victory and honor and valor. Titus’ troops – Prisoners and treasures, varying levels of relief forms closest to view project out more, getting better than Greeks at it. Triumphal arch in the relief is foreshortened, shows that it recedes back into the image. Major street of the forum, via sacra (sacred way). 

Amphitheater, Pompeii, Italy

c. 70 BCE

First amphitheater, outside. Sat 20,000 people. When it was built, two very wealthy men paid for the whole thing, had less than 20,000 at the time 

House of the Faun, Pompeii, Italy

c. 2nd century BCE - 79 CE

Botanists figured out what types of plants and flowers were grown here. One of the biggest houses in Pompeii. Domus – “domestic” Streetside entrance with shops outside, no vision of what might be inside. Once you walk in, you could see all the way to the back (in some). Greeted by an atrium, open to the sky and used to catch rainwater in an implubian and drain into cistern below. Windowless bedrooms, offices, tablinum where you keep ancestor portraits (death masks). Two peristyles, courtyard ringed by columns, also open to the sky. Battle of Issus, came from here, in long rectangular room between two dining areas. Mosaic technique time consuming and employed multiple people. Glass technique required even more labor.

Floor Mosaic from the House of the Faun, Pompeii, Italy

c. 79 CE

Sea imagery, octopus fish and marine beings. Pebble floor mosaic.

Villa of the Mysteries, Pompeii

c. 60-50 BCE

in situ (in place, not moved). Some mysterious cult performing a rite to Dionysus (Bacchus). Fresco decoration dates from about 60-50 BCE. True fresco, fresh plaster paint, buon fresco. Constant drama playing out. Notice red back background (like Greek metapes, figures left in white). Seem to be actors on a stage. Little boy with adult women and Dioysus and a few men. Reading directions for the ritual, moves from left to right. Women baring things, carrying things, dancing. Modeled beautifully (use of light and shadow to give the illusion of three dimensionality) in body and drapery. Figure with her back to the viewer, pocket of space in front of her that we can’t see but it’s suggested. Different views and perspectives with more modeling. Billowing cape woman (personification??) Dionysus wearing vine leaves and body modeled beautifully lounging in chair. Winged figure all the way to the right, about to whip a female initiate. Dancing woman seen from the back with castonettes and very little drapery. 

Temple of Apollo, Pompeii

c. 120 BCE

Still Life from the House of Julia Felix, Pompeii

c. Early first century CE

still life’s were popular in roman kitchens. There are eggs, dead birds, a towel hanging. There is modeling with the light and shadow in the cloth of the towel. There is reflection off the metal vase. There are cast shadows to the right so the light source must have been to the left of the viewer. 

Wall Painting  from the Villa at Boscoreale Italy

c. 40-50 BCE

was a bedroom of the owner with walls painted illusionistically, as if they are looking around at their neighbors or the outside. The fresco gives hints as to what buildings during the time would have looked. Linear perspective is present. Linear perspective is a way of showing that something recedes back in to space by the use of lines. The scene must be up and not a realistic portrayal of a scene because there is no consistent point of view. Proper perspective wasn’t the point. You can see the top of the roof and the bottom of the balcony

Fresco from Herculaneum

c. middle-late 1st century CE

very fantasy like and seems to be closer to the time of the eruption. This is known because of the complexity in it that matches the complexity of the time period of the eruption. It shows a temple with broken entablature which was a new technique. This suggests that theater was important to the Romans because it shows a mask and a curtain. The technique of atmospheric perspective is present- meaning forms in foreground, closer to viewer are clear and things in the background or farther away are blurrier. 

Herakles and the Infant Telephus, Herculaneum, Italy

c. 2nd century BCE

Roman fresco copy of a Greek painting 2d century BCE, from Herculaneum, Italy- this is a fresco found after the eruption. The scene is Hercules/Herakles with an infant who is raised by a deer. The woman who takes up most of the scene probably represents Arcadia; she is the seated figure overseeing. Modeling is very detailed showing volume and shade. The body of the deer is foreshortened. The lion is most likely present because Hercules is often showed with a lion. 

Wall Mosaic, House of Neptune, Herculaneum, Italy

c. 62-79 CE

the mosaic is made of glass. This is from after the eruption as well. These are expensive because of the numerous people required to make one. Amphitrite is the woman and her husband … They are nude and have a contraposto stance. This portrays the Greek influence. The mosaicist knew modeling very well in the drapery and body. The border is colorful and decorative- has wave motifs that symbolize the sea.

Trajan Forum

c. 98-117 CE

is the largest forum of all those in Rome. Trajan was ruling at the empire’s height and widest spread. He had a huge basilica; the round areas of the basilica are called the apses.  Apses, nave (center area of the basilica)s, and side aisles will be used in the Christian church. This was the largest basilica. It had a clear-story letting light in

Column of Trajan

c. 112 CE

Trajan’s ashes were put in the bottom of this. There is a band of relief. There used to be a statue of Trajan at the top but it is now replaced by a Christian saint. In Trajan’s day and a bit earlier they were cremating bodies. There is a brand new idea of a spiraling narrative around the column. The column was surrounded by two libraries and so people could read the scenes at the top. The scenes were painted. The details show troops, building bridges, etc. in the libraries around the column they had scrolls called rotios.right around this time the codex (book) will take the place of the Rotios. The scrolling narrative on the column symbolizes and relates to the scrolls they read from. The bands are about four feet in height 

Pantheon, Rome

c.  118-125 CE

Pantheon 118-125 CE Rome, Italy- there are two building in Rome that were very influential on later architecture, the coliseum and the pantheon. Pantheon means every god? The round dome of the pantheon is still seen in modern architecture such as in government buildings. This was built under the ruler Hadrian. He was quite interested in Greek things so his monuments are heavily influences. The ancient tholos idea of roundness. The treasury of Atreus was the largest round structure for centuries until the pantheon. They could do this because of concrete. There is the Greek columns, entablature. The round dome hole in the ceiling is called the oculus. The hole in the ceiling did let in rain but the floor inside sloped to allow water to drain. The dome is supposed to symbolize the dome of the heavens. The ceiling of the dome is decorated with squares and each had a gilded rosette within (a star looking object). The oculus is 30 ft. in diameter.

Marcus Aurelius Bronze, Rome

c. 161-180 CE

did not like war or battle but knew it was necessary. This statue is bronze; it is rare to have original roman bronzes as well as with the Greeks. This statue is the only roman bronze monumental statue to exist today. All the rest have perished. There is evidence to show there was a crouching enemy under his horse. He is showing a merciful gesture letting the enemy flee. The musculature and anatomy of the horse is very well understood. This statue is the prototype for later leaders portrayed on a horse. The reason this was not melted down was because the Christians thought this was of Constantine, a Christian emperor. The Christians when they became a huge population tried to wipe out the memories of emperors that were not Christian

Baths of Caracalla, Rome

c. 212-216 CE

baths were mostly public, separated by sex. This is the largest of the baths. Caracalla is the emperor ruling. It is 50 acres. Tepidarium had medium water. Caldarium had hot water. The Frigidarium had cold water. A dotted X on a plan is a groin vault, two barrel vaults intersecting. Had composite columns inside, eight large ones. They also had clearstory levels, invented by Egyptians. They had floor mosaics

Baths were public, separated by sex. 952 baths, 11 were private. 14 Aqueducts served these. Caracalla were the largest. 211 – 217, assassinated. More chaotic time, uprisings and civil wars. Big problems. Art reflects this. 50 Acre bath, 700 ft in length. Had separate parts, hot, tepid and cold water, garden, peristyles, shops, stadiums, aqueduct and reservoirs. Rivaled the Pantheon. Groin vaults (two barrel vaults intersecting), 3 huge in the center. Was once quite ornate. Composite column (campus leaf and ionic volute, Corinthian/ionic). Window level (clear story) invention of the Egyptians, under the arches. 

Ludovisi Battle Sarcophagus, Rome

c. 250-260 CE, found in 1620s

Flesh eater. Haven’t been looking at sarcophagi because the romans typically cremated. Switched towards the end, more Christians needed bodies for afterlife. Battle depicted, unearthed in 1620s in Rome bought by Ludovisi family at the time. Spatially reflects the chaos and disintegration of the empire. Floating around, regressed and not concerned with spatial awareness. Linear perspective disappears, overlapping still present (tremendous and complex). Vanquishing motif (grabbing of hair) present.

Constantine, Rome

c.  306-312 CE

First emperor to convert to Christian, straddles the Pagan roman empire but really belongs more to the Christian movement. Head and limbs were marbled stone. Seated statue, head is 8.5 ft, huge. Body was wood and brick core, stone parts remain. 306 – 337. Baptized on his death bed. Battle of Milvian bridge, 312 Maxentius, Constantine had a vision going into the battle, saw a cross, hears “in this side you will conquer”. Wins battle, converts, his mother makes a pilgrimage to holy land. Sat in the Basillica of Maxentius and Constantine (c. 306-312 CE, Rome, Italy). Law court, not religious. 4 Rulers required for this far-flung empire, 2 in the West 2 in the East. Tetrarchs. Constantine was one of four. Maxentius had been ruling in the west, Constantine coming from the East invading Rome. Constantine ruled primarily from Constantinople. Named after himself. Modern day Istanbul or Byzantium. 313 gives equal status to Christians and Pagans. Thousands shifted to Christianity, persecuted by Pagans. Met in houses, largely in secret prior to Edict of Milan. 325 Council of Nycea, Christianity became official religion of the Roman Empire. Start building churches. By 391, under Theodoseus bans all Pagan cults. Dramatic fling. Effects everything. 

Arch of Constantine, Rome

c. 312-315 CE

Rome, Italy – Largest of the four left. Not destroyed by Christians. Comemerates the battle of Milvian bridge. Big symbol of triumph of Christianity. Constantine had men take parts from previous emperor (good ones). Mishmash of styles. 3 arches, column on either side. Round arch. Important to specify. 

Aula Palatina, Trier, Germany

c. Early 4th Century CE

Simple on outside. Round arches. Basillica. Audience hall for the ruler. With and apse, enthroned image of who the ruler was but is today a Christian church. Nave (main center part). Romans were concerned with modular system and proportion, 100 ft by 200 ft. Harmonious.